‘THE INTERPRETATION OF BACH'S WELL-TEMPERED CLAVIER, BOOK one: Y A STUDY IN DIVERSITY Presented by Brian James Dykstra To fulfill the thesis requirement for the degree of Doctor of Musical Arts Department of Performance and Pedagogy (Piano) Thesis Director: Dr, Edward G, Evans, Jr. Bastman School of Music of the University of Rochester dune, 1969© JApss via Brian James Dykstra was born on October 15, 1942 in iungston, New York. From 1945 to 1962 he lived in Holland, Michigan, where his futher, Dr, D. Ivan Dykstra, vas Prof- essor of Philosophy at Hope College. He attended Holland High School, graduating in 1960, and enrolled at Hope Col- Lege in the fall of thet year, In 1962 he entered the Juilliard Sekool of ttusic, studying piano with James Fris~ kin and receiving the B.S. degree in June, 1964, In 1964 he began graduate work at the Eastman School of ‘Music, studying piano during 1964-65 with Eugene List and Leonard Shure. The M.M, degree was awarded in June, 1965. In the same month he married Ruth Elise Westervelt of Ridgewood, Hew Jersey, @ graduate of the Columbia University School of Nursing. He began the Doctor of Musical Arts program at Eastman in the fall of 1965, studying piano under Cécile Jenhart. During the year 1967-68 he studied at the Academy Mozarteum in Salzburg, Austria, on e Fulbright Fellowship; his piano teacher there was Kurt Neumiller. In September, 1968 he returned to Rochester to complete work on the D.M.A. degree, In the fall of 1969 he will begin teaching at the College of Wooster in Wooster, Ohio,PREFACE In the present century a great deal of scholarly re- search has been devoted to the stylistic performance of the keyboard works of Johann Sebastian Bach. Much of this re- search concerns ornamentation, an area of performance in which scholars have indeed made contributions. The harpsi- chord and the clavichord—-popular keyboard instruments in the Baroque period--are today enjoyed by a large segment of the concert-going and record—buying public, thanks largely to the efforts of scholars who have advocated the revival of these instruments and artists who have devoted themselves to performance on them. Today the leading record catalogue lists approximately as many recordings of Bach's Well~Tempered Clavier on the harpsichord or clavichord as on the piano. Scholars have also given cousiderable attention to certaia problems dealing with rhythm in Bar- oque music, and they have improved the textual accuracy of editions of Baroque works. However, there are several major areas of performance in which the student of Bach's keyboard music can receive schwann Long Play Record Catulogue XXI, No. 3 (1969), Be 22.